📘 E-Issue 05 ––VCE Fall 2022
  1. Editor’s Note
  2. What’s On in VCE
  3. Pop(Corn): UAE National Pavilion
  4. Rapport: Venice
  5. Zeitgeist of our Time: Füsun Onur for the Turkish Pavilion at the 59th Venice Biennale
  6. GAD’s Top Picks: National Pavilions
  7. Strangers to the Museum Wall: Kehinde Wiley’s Venice Exhibition Speaks of Violence and Portraiture
  8. Questioning Everyday Life: Alluvium by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian at OGR Torino in Venice

📒 E-Issue 04 ––IST Spring 2022
  1. Editor’s Note
  2. What’s On in IST
  3. Pop(Corn): Refik Anadol
  4. Rapport: Istanbul
  5. Independent Spaces in Istanbul: Sarp Özer on Operating AVTO

E-04++ Spring/Summer 2022
IST 
Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS
HK 
How Pearl Lam Built Her Gallery Between China and Europe
UAE
What’s On in the UAE: Our Top Summer Picks
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation
DXB 
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery
IST
 Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models
📘 E-Issue 03 –– TYO Fall 2021
  1. Editor’s Note
  2. What’s On in TYO
  3. Pop(Corn): Nimyu
  4. Ahmad The Japanese: Bady Dalloul on Japan and Belonging
  5. Rapport: Tokyo 
  6. Alexandre Taalba Redefines Virtuality at The 5th Floor
  7. Imagining Distant Ecologies in Hypersonic Tokyo: A Review of “Floating Between the Tropical and Glacial Zones”
  8. Ruba Al-Sweel Curates “Garden of e-arthly Delights” at SUMAC Space
  9. Salwa Mikdadi Reflects on the Opening of NYU Abu Dhabi’s Arab Center for the Study of Art

E-03++ Fall/Winter 2021-22
DXB 
Art Dubai Digital, An Alternative Art World?
DXB 
Must-See Exhibitions in Dubai - Art Week Edition 2022
DXB
Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022
TYO
 Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
AAN The Labor of Art and the Art of Labor: Christopher Benton on His First Exhibition in Al Ain
IST “Once Upon a Time Inconceivable”: A Review and a Conversation
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance
DXB
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

📕 E-Issue 02
––
NYC Spring 2021
  1. Editor’s Note
  2. What’s On in NYC
  3. Pop(Corn): Zeid Jaouni
  4. You Can Take The Girl Out Of The City 
  5. Rapport: NYC
  6. Kindergarten Records Discuss The Future of Electronic Music
  7. Sole DXB Brings NY Hip-Hop To Abu Dhabi
  8. Wei Han Finds ‘Home’ In New York
  9. Vikram Divecha: Encounters and Negotiations

E-02++ Spring/Summer 2021
DXB “After The Beep”: A Review and Some Reflections
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka
AUH “Total Landscaping”at Warehouse 421
TYO “Mimicry of Hollows” Opens at The 5th Floor
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre
BAH Mihrab: Mysticism, Devotion, and Geo-Identity
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London
DXB Ana Escobar: Objects Revisited
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy
DXB A Riot Towards Landscapes
DXB A ‘Menu Poem’ and All That Follows
DXB Alserkal Art Week Top Picks 
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421
DXB There’s a Hurricane at the Foundry

📙 E-Issue 01 –– AUH/DXB Summer 2020 
  1. Editor’s Note 
  2. What’s On in the UAE
  3. Pop(Corn): Hashel Al Lamki
  4. Tailoring in Abu Dhabi
  5. Rapport: Dubai 
  6. Michael Rakowitz From the Diaspora

E-01++ Fall/Winter 2020-21
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists    
DXB Sa Tahanan Collective Redefines Home for Filipino Artists
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer
AUH SEAF Cohort 7 at Warehouse 421 
DXB 101 Strikes Again with Second Sale at Alserkal Avenue
DXB Spotlight on Dubai Design Week 2020
DXB Melehi’s Waves Complicate Waving Goodbye
DXB Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre
DAM Investigating the Catalogues of the National Museum of Damascus
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE
TYO James Jarvis Presents Latest Collages at 3110NZ
DXB Do You See Me How I See You?
DXB Thaely Kicks Off Sustainable Sneakers
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh
MIA a_part Gives Artists 36 Hours to React

UAE Tawahadna Introduces MENA Artists to a Global Community
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’
DXB Alserkal Arts Foundation Presents Mohamed Melehi
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting
AUH Sarah Almehairi Initiates Conversations
DXB Augustine Paredes Taking Up Space
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism
BEY GAD Map: Arts & Culture Relief for Beirut

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6. GAD’s Top Picks: National Pavilions


By NiccolòAcram Cappelletto

Published on September 5th, 2022  
 

Egypt

Eden-Like Garden preserved for the Chosen ones

Curated by Mohamed Shoukry with artists Weaam El Masry and Ahmed El Shaer

The Egyptian Pavilion consists of an artificial intelligence media installation representing the female womb. Upon entering the room, the viewer finds themselves before “AI-generated images projected on huge pink organic forms” (edelikegarden.com) that cover a wide range of topics from birth to the universe. The use of algorithms in art becomes in the Egyptian pavilion a propulsion of images that are not random but selected purposefully in an unexpected encounter.

1. Pavilion of Egypt, EDEN-LIKE GARDEN PRESERVED FOR THE CHOSEN ONES, photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia.


Romania
You Are Another Me - A Cathedral of the Body

Curated by Cosmin Costinas and Viktor Neumann featuring Adina Pintilie

Pintilie brings to the Romanian Pavilion a multi-media film installation with the idea of the body at its centre. You Are Another Me - A Cathedral of the Body investigates the power of bodies’ intimacy in light of a pandemic that caused social and physical distancing as well as a war in Ukraine that is bringing destruction. While tackling issues of gender, body normativity, and sexual representations, Pintilie ‘transforms the historically loaded pavilion into a contemporary cathedral that celebrates the body and human connections beyond any preconceptions’ through the use of film (Romania Pavilion).

2. Pavilion of Romania, You Are Another Me – A Cathedral of the Body. Photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia

Nordic Countries

The Sámi Pavilion

Curated by Katya García-Antón, Liisa-Rávná Finborg and Beaska Niillas exhibiting Pauliina Feodoroff, Máret Ánne Sara, Anders Sunna

Commonly known as the Nordic Pavilion, Norway, Sweden, and Finland changed the approach for this Biennale’s edition by featuring the Sámi Pavilion project with artists Feodoroff, Sara, and Sunna. The word “Sámi” refers to the indigenous populations of Sapmi inhabiting the areas of the countries represented and the Kola peninsula in Russia. The artworks range across performance, video installation, sculpture, painting, and installations offering an encompassing vision of the ‘relations across generations’ (The Sámi Pavilion). The theme of indigeneity is investigated through the lens of the current changes due to the climate crisis that are causing the loss of Sámi knowledge and worldview.

3. Pavilion of Nordic Countries, The Sami Pavilion. Photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia.

United States of America

Simone Leigh: Sovereignty

Curated by Eva Respini featuring Simone Leigh

Sovereignty is the title of the personal exhibition of Simone Leigh taking place at the United States of America Pavilion at the Venice Biennale. By exhibiting a group of new artworks, Leigh explores the ‘construction of Black femme subjectivity’ (USA Pavilion). The exhibition threads between the ritual performances of the Baga populations in Guinea, material heritage from Black American communities in South Carolina, and the 1931 Paris Colonial Exposition. With her monumental sculptures, Leigh presents a message of self-determination against structures of oppression. Leigh’s artworks are also present in the exhibition The Milk of Dreams and her contribution was recognised with the Golden Lion for the Best Participant in the International Exhibition of this Venice Biennale edition.

4. Pavilion of United States of America, Simone Leigh: Sovereignty. Photo by Marco Cappelletti. 2022. Courtesy of La Biennale di Venezia.

Argentina

The Importance of the Origin Will Be Imported by the Origin of the Substance

Curated by Alejo Ponce de León featuring Mónica Heller

In a series of 3D-video installations, the Argentinian Pavilion presents its work of Heller in an alienating experience while focusing on the absurdity of the material world. Heller builds a “sensory landscape” (Argentinian Pavilion) that mixes the real with the symbolic from the artist’s personal experience of the world. The video Il Piccione Parlante (The Speaking Pigeon) best represents the ideas of the pavilion. The short film is a work of animation in which the bird “recites an absurd and fiery soliloquy” (Argentinian Pavilion), pointing out a heavy criticism of some of the most relevant issues in today’s capitalistic societies.

5. Pavilion of Argentina, The Importance of the Origin Will Be Imported by the Origin of the Substance, Photo by Andrea Avezzù. 2022. Courtesy of La Biennal di Venezia.



Ghana

Black Star - The Museum as Freedom

Curated by Nana Oforiatta Ayim featuring Na Chainkua Reindorf, Diego Araúja, and Afroscope

The Ghanaian Pavilion presents young artists Afroscope, Chainkua Reindorf and Araúja to tackle issues of marginalization and artistic expression. The title refers to the black star in the national flag and the presence of emerging art gives the direction of the exhibition’s future thinking. Paintings, installations, and drawings are the media used in the pavilion and altogether they offer an exciting and promising view of Ghanaian young art in a world that, as pointed out by the curator Oforiatta Ayim, sees them as ‘not being established, “developed” enough, not having enough funds’ and so on.

6. Pavilion of Ghana, Black Star - The Museum as Freedom. Photo by author. 2022.



New Zealand

Paradise Camp

Curated by Natalie King featuring Yuki Kihara

Paradise Camp is the exhibition of Yuki Kihara for the New Zealand Pavilion. By showing the colonial legacies on gender, especially the impact on indigenous societies, Kihara, an artist of Samoan and Japanese origins, leads the visitor on a journey across media and human representations, in which the role of community becomes the protagonist to fully accept one’s identity and to build societal bonds. As Jim Vivieaere describes, “Kihara steers us towards a geo-poetics of place, eliciting our capacity to imagine relationships anew while forging radical forms of togetherness and solidarity” (Paradise Camp).

7. Pavilion of New Zealand, Paradise Camp, Photo by Andrea Avezzù. 2022. Courtesy of La Biennale di Venezia.



Singapore

Pulp III: A Short Biography of the Banished Book

Curated by Ute Meta Bauer featuring Shubigi Rao

The Singaporean Pavilion presents the third stage of the ongoing artistic project of Shubigi Rao about “the history of book and library destruction, its impact on humanity, and the futures of knowledge” (Singapore Pavilion). The exhibition presents as an installation in the shape of a book in which the visitor walks through its pages. At the end of the visit, the film Taking Leaves “comprises existing research and recent footage” as a “visual manifestation” of Rao’s practice (Singapore Pavilion). Investigating the possible lives of histories through books, Pulp III represents an attempt to build an inclusive environment for those histories that end up neglected, if not erased.


8.Pavilion of Singapore, Pulp III: A Short Biography of the Banished Book, Photo by Andrea Avezzù. 2022. Courtesy of La Biennale di Venezia.